The Alexandria Quartet - Lawrence Durrell [178]
— a prostitute singing in the harsh chipped accents of the land to
the gulp and spank of a finger-drum, the cries of children on the swings and sweating roundabouts and goose-nests, the cock-shies and snake-charmers, the freaks (Zubeida the bearded woman and the calf with five legs), the great canvas theatre outside which the muscle-dancers stood, naked except for loin-cloths, to advertise their skill, and motionless, save for the incredible rippling of their bodies — the flickering and toiling of pectoral, abdominal and dorsal muscles, deceptive as summer lightning.
Narouz was rapt and looked about him with the air of a drunk-ard, revelling in it all, letting his footsteps follow the haphazard meanderings of this township of light. At the end of one long gallery, having laughingly shaken off the grasp of a dozen girls who plied their raucous trade in painted canvas booths among the stalls, he came to the brilliantly lighted circumcision booths of which the largest and most colourful was that of Abdul’s master, Mahmoud Enayet Allah, splend id with lurid cartoons of the ceremony, painted and framed, and from whose lintel hung a great glass jar cloy ing with leeches. The doyen himself was there tonight, haranguing the crowd and promising free circumcision to any of the faithful too poor to pay the ordinary fee. His great voice rolled out and boomed, while his two assistants stood at attention behind the ancient brass-bound shoe-black’s chair with their razors at the alert. Inside the booth, two elderly men in dark suits sipped coffee with the air of philologists at a congress.
Business was slack. ‘Come along, come along, be purified, ye faithful’ boomed the old man, his thumbs behind the lapels of his ancient frock-coat, the sweat pouring down his face under his red tarbush. A little to one side, rapt in the performance of his trade sat a cousin of Mahmoud, tattooing the breast of a magnificent-looking male prostitute whose oiled curls hung down his back and whose eyes and lips were heavily painted. A glass panel of great brilliance hung beside him, painted with a selection of designs from which his clients could choose — purely geometric for Moslems, or Texts, or the record of a vow, or simply beloved names. Touch by touch he filled in the pores of his subject’s skin, like a master of needlecraft, smiling from time to time as if at a private joke, building up his pointilliste picture while the old doyen roared and boomed from the step above him ‘Come along, come along, ye faithful!’
Narouz bent to the tattooist and said in a hoarse voice: ‘Is the Magzub here tonight?’ and the man raised his startled eye and paused. ‘Yes’ he said, ‘I think. By the tombs.’
Narouz thanked him and turned back once more to the crowded booths, picking his way haphazardly among the narrow thorough-fares until he reached the outskirts of the light. Somewhere ahead of him in the darkness lay a small cluster of abandoned shrines shadowed by leaning palms, and here the gaunt and terrible figure of the famous religious maniac stood, shooting out the thunderbolts of hypnotic personality on to a fearful but fascinated crowd. Even Narouz shuddered as he gazed upon that ravaged face, the eyes of which had been painted with crayon so that they looked glaring, inhuman, like the eyes of a monster in a cartoon. The holy man hurled oaths and imprecations at the circle of listeners, his fingers curling and uncurling into claws as he worked upon them, dancing this way and that like a bear at bay, turning and twirling, advancing and retreating upon the crowd with grunts and roars and screams until it trembled before him, fascinated by his powers. He had ‘come already into his hour’, as the Arabs say, and the power of the spirit had filled him.
The holy man stood in an island of the fallen bodies of those he had hypnotized, some crawling about like scorpions, some scream-ing or bleating like goats, some braying. From time to time he would leap upon one of them uttering hideous screams and ride him across the ring,